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Too many cooks spoil the dish in ‘Casino Royale’ (1967)

Casino Royale Directed by John Huston, Val Guest and co. Written by Wolf Mankowitz, John Law and co. U.S.A., 1967 With the mad success of the James Bond films as produced by partners Albert ‘Cubby’ Broccoli and (Canadian) Harry Saltzman, which had run from 1962’s Dr. No to 1965 Thunderball, it was only natural for …

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Crafted with Love: ‘Dr. Strangelove’ and the Cthulhu Mythos

Having finished Lolita, a subversive Hollywood piece even by noirish standards, Kubrick returned to war. Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb’s scope was more encompassing than the private torture of Paths of Glory, looking forward to the threat of apocalyptic destruction instead of a reflective portrait of immediate world wars. Instead of matching and multiplying the grave tone inherent in both his previous work and the source material, Red Alert by Peter George, Kubrick opted for a brand of blacker-than-pitch humor claiming “The only way to tell the story was as a black comedy or, better, a nightmare comedy, where the things you laugh at most are really the heart of the paradoxical postures that make a nuclear war possible…”. This does not deter from the omnipresent horror surrounding both the film and the historical environment that determined its existence. Beneath the antics and the (wonderfully) strained acting of Sellers and Scott lies the taut strains of nuclear holocaust with only these chummy actors in control. It’s dread at its purest, comfortably resting amongst the instantly quotable dialogue and perfectly composed images: an atmosphere of unspeakable horror-that-is-to-come.

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Director & Actor Teams: The Overlooked & Underrated (Part 1 of 2)

Cinema is a kind of uber-art form that’s made up of a multitude of other forms of art including writing, directing, acting, drawing, design, photography and fashion.  As such, film is, as all cinema aficionados know, a highly collaborative venture. One of the most consistently fascinating collaborations in cinema is that of the director and …

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